How-To-Audition.com

 

Theatre Auditions

   
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How To Audition
My Audition Goal
Kinds of Theatre Auditions
Theatre Audition Questions
Dressing for Theatre Auditions
Selecting Audition Monologues
Rehearsing the Audition
Performing the Audition
Singing Auditions
Sample Monologues
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Dressing for the Theatre Audition

Dress like you are going to a casual business interview---unless your agent tells you otherwise; then listen to your agent. 

Theatre people don’t hire people who look like theatre people.  You know that look; people who look like they’re in costumes: scarves, blousy pirate shirts, artist hats.  Costumes should be on the stage in a play; not in the audition. 

In the cattle call you are simultaneously auditioning for many plays.  A particular “look” will limit you.  Remember also, when you are hired as a performer in a theatre company, you will be attending fund-raising functions as a representative of the theatre company.  Your “performance” at these functions often raises more money for the theatre than any of the actual production performances.  What kind of community people frequent these theatre fund raising events?  Successful business and professional people. 

Do you think a business professional who dresses conservatively in white shirts and ties will donate significant sums of their hard earned money to people who dress in silly hats and scarves.   When the directors look at you, they not only see you in different theatrical roles, they also imagine how you will look and perform in these very important fund-raising functions.  You are professional; dress like one.  Remember the difference between television and theatre auditions.  When you attend one of the cattle call “slate” auditions, you dress in costume for the part; your agent should tell you exactly what to wear. 

Women:  Dress to sell your product.   

If you want to sell your body, then dress with short tight skirts, spike heels, and plunging necklines.  If you want to sell your professional ability to perform, then dress like a professional.

If the stage floor is at eye level with the audience, women should avoid short dresses.

We are uncomfortable when “we see too much of you.”  And when we are uncomfortable, we look away.  We will also deliberately look away because we worry that our colleagues sitting close to us might think that we are trying too hard “to see more of you.”  A long “safe” dress that falls just over the knees is an effective choice.  The same applies to blouses.  Which do you prefer; us worrying about whether or not you are going to "fall out," or thinking about hiring you.  Save the cleavage for the hot dates.  

 Men:    There are very few parts in modern or classical plays that call for spiked hair, tattoos, and pierced body parts. 

Leave the earrings in the briefcase.  If you have visible tattoos, cover them up.  If you don’t have tattoos, don’t get them.  Tattoos on arms, legs, necks, and backs are very difficult to hide.  Tattoos require special expensive make-up products.  Right or wrong, tattoos send a very specific message about your identity to audiences and directors. 

The actor is a chameleon.  Tattoos, spiked hair, and body piercing lock you into specific character types both in the minds of the casting directors and the audiences.  Also very few plays need bald headed characters or characters with beards.  Plan your shaving carefully.